15 Hard-Knock Facts About Annie

Sony Pictures Home Entertainment
Sony Pictures Home Entertainment

Little Orphan Annie has been a part of American pop culture for nearly a century now—first as a comic strip which made its debut in the summer of 1924, then as a popular radio show in the 1930s, which spun off into a couple of film productions later in that decade and a hit Broadway musical in 1977. Though the musical version has been adapted to the big-screen a few times over the years, most recently in 2014, the 1982 version—starring Aileen Quinn as the titular orphan—is the best known big-screen version. On the 35th anniversary of its release, here are some things you might not have known about Annie.

1. AT THE TIME, IT WAS THE MOST EXPENSIVE MUSICAL EVER MADE.

Though the final budget varies from source to source, most agree that it cost about $40 million to produce Annie, with a large part of that budget (about $9.5 million) spent on buying the rights to the popular 1977 Broadway play the film was based on. There were also the not insubstantial costs of advertising the film and producing prints, which, according to a 1982 edition of the Los Angeles Hollywood Examiner, were around $9 million. Unfortunately, the movie’s revenue didn’t even come close to recouping its expenses.

2. THE CREATOR OF THE ANNIE MUSICAL HATED THE MOVIE.

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Martin Charnin, conceiver, director, and lyricist of the Broadway hit, had nothing good to say about what producer Ray Stark and director John Huston did to his play. When he sold the rights, he relinquished all creative control. The result, Charnin told the Hartford Courant, was this: “Warbucks, played by Albert Finney, 'was an Englishman who screamed.' Hannigan, played by Carol Burnett, was 'a man-crazy drunk.' And Annie was 'cute-ed up.' Worse, the emotional relationship between Annie and Warbucks was distorted. They even downplayed the hit song "Tomorrow'' because 'Stark thought it was corny.'"

3. JOHN HUSTON WAS HIRED TO DIRECT BECAUSE OF HIS SIMILARITIES TO DADDY WARBUCKS.

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If you wanted darkness, grit, and intrigue in your film, you got John Huston to direct it. The Maltese Falcon, The Treasure of the Sierra Madre, The African Queen, Beat the Devil, ... Annie? Huston was an odd choice, but producer Stark insisted. To Stark, the grizzled, then-76-year-old director was the embodiment of Daddy Warbucks, the gruff billionaire who shouts, “I love money, I love capitalism! I do not and will not ever love children!” (Of course there is also the rumor that Huston only agreed to do such a far-flung project because he was desperate for money.)

4. ALBERT FINNEY WAS HARDLY THE FIRST CHOICE TO PLAY DADDY WARBUCKS.

While Bette Midler was the first choice to play Miss Hannigan (a role that went to Carol Burnett), there were many actors ahead of Albert Finney on the Daddy Warbucks lineup. Finney had Hollywood experience, but the stage was more his realm. Reportedly, Sean Connery was approached, but didn’t want to appear bald. Even Cary Grant, who would have been in his late 70s at the time and hadn’t made a movie since 1966, was asked.

5. “EASY STREET" WAS ORIGINALLY A HUGE, OUTDOOR NUMBER.

The first incarnation of the show-stopping “Easy Street” was literally performed in a street, with the three enthralling villains of the film—Miss Hannigan (Burnett), Rooster (Tim Curry), and Lily (Bernadette Peters), displaying their joyous greed against a backdrop of dozens of dancing street vendors. After it was shot, Huston decided it wasn’t intimate enough and, more importantly, the setting distracted from the three enormous personalities at the center of it. Burnett, Curry, and Peters were more interesting to watch just by themselves than in a whole studio full of performers. (You can see some grainy bits from the original version here.)

6. THE RE-SHOOT OF "EASY STREET" WAS MILDLY COMPLICATED BY BURNETT'S CHIN SURGERY.

After primary shooting, Carol Burnett underwent surgery to correct her overbite and align her jaw. When she was called back to re-shoot “Easy Street,” she had a new face.  As quoted in the Chicago Tribune, she told her director about her concerns. "Mr. Huston," she remembered saying, "Two months ago, when I went into the closet, I didn't have a chin."

"Dear," he responded, "just come out looking determined."

7. NEW JERSEY'S GOVERNOR SIGNED A LAW TO ALLOW CHILDREN IN THE CAST TO WORK AT NIGHT.

Annie’s climactic scene was partly shot on the Passaic River’s NX railroad drawbridge, which had been abandoned in the raised position in 1977. The scene called for Annie to climb the bridge like a ladder with Rooster following in a murderous rage. All of this took place in the dead of night, and New Jersey's child labor laws prohibited children employed in making films from working after 11:30 p.m. and before 7 a.m. More night hours would be needed to complete the shoot, and the state government was accommodating, with Governor Brendan Byrne helicoptering to the set to sign a bill amending the law, which now allows the Commissioner of Education “the authority to amend the hours of the day during which a minor may work but not the total hours.”

8. THERE WERE AROUND 500 DIFFERENT PRODUCT TIE-INS FOR THE FILM.

Annie’s merchandising began three years before the film was released. Producer Ray Stark knew that the whole world was anticipating his movie, and he intended to use that interest toward a licensing boom. Tie-ins included contracts with Crayola, Random House, Marriott hotels, Sears Roebuck & Co., Knickerbocker Toys, Procter & Gamble, and Ken-L-Ration dog food. The products would include umbrellas, wigs, lunch boxes, dog accessories, a Parker Brothers board game, a line of Marvel Comics, Annie ice cream, Annie cookies, Annie designer jeans, and hundreds more.

9. AROUND 8000 GIRLS AUDITIONED TO PLAY ANNIE.

Two years before the film version, Aileen Quinn was in the Broadway production of Annie. She was a “swing orphan,” meaning she was trained to play any of the orphans except Annie (who, at the start of Quinn’s tenure, was Sarah Jessica Parker). Auditions for the film began in 1980 and took an entire year.

The casting director had a clever way to speed the process along, according to PBS's “Lights, Camera, Annie!” Annie hopefuls lined up and each girl sang a part of “Tomorrow,” with the next girl picking up where the last left one off. Quinn was called back eight times until the production team was totally convinced she was the perfect combination of grit and sweetness. “I was completely in shock," Quinn remembered. "I didn’t believe it until the casting agent showed me the production schedule, and I was scheduled to appear on The Today Show at 7:00 a.m. the next morning. That’s when I believed it!"

10. FINNEY HAD LITTLE EXPERIENCE WITH SONG AND DANCE.

Finney was a trained Shakespearean stage actor and widely regarded for his dramatic roles. He’d only ever sang and danced once before in a performance, in the 1970 musical Scrooge. As a crotchety Scrooge, his singing and dancing came out more like cleverly inflected growls and splay-footed leaps. Annie didn’t require him to become Baryshnikov with the voice of Pavarotti, but it did call for ballad singing and a tap dance routine.

"One of my favorite memories of him is [Albert] learning to really sing for the first time," Quinn said. "He did that beautiful version of 'Maybe' ... As he was taking singing lessons on the set, I can remember him with a cigar out of his mouth and going 'la la la la la la la,' pause, 'la la la la la la la.'" This, plus Finney’s habit of putting bottle caps under his loafers to practice his tap routine, thoroughly charmed the 10-year-old Quinn. "He was, like, in it to win it ... so adorable."

11. THE WARBUCKS MANSION WAS A REAL HOUSE, BUT ONLY BRIEFLY.

It was hard to find the right place for Oliver Warbucks to call home. Many of the grandest homes of the Gilded Age had been turned into museums, and the others had been overly featured in other movies and on television. Then Huston found Shadow Lawn, a 130-room New Jersey palace built in 1927 for Hubert Templeton Parson, the then-president of Woolworths. It was designed by Horace Trumbauer and his assistant Julian Abele, considered by some to be the first African American architect in America.

Within 10 years, Parson went broke and his home was appropriated by the city. After that, according to The New York Times, it served as a military academy, a military hospital, and a school for girls, but never again as a private home. In the 1950s, Monmouth College bought the mansion and its 108 acres, and it remains a part of the school's campus today.

12. AILEEN QUINN USED TO TEACH AT THE UNIVERSITY THAT OWNS THE “WARBUCKS” MANSION.

Years after filming her performance in Annie, Quinn returned to the scence of her childhood stardom when she began teaching at Monmouth University. According to a 2012 interview with Entertainment Weekly:

"A couple years before I started teaching, I went there for a big fundraiser to help them raise money for education. So I went back for the first time and actually got very emotional. It’s that staircase that does it. After I gave my speech they had me go up the stairs and I sang “Tomorrow." That was so surreal. I was walking down that staircase again, and even though they had tables set up for the gala, I couldn’t help but think, “Oh my god, that’s where I karate chopped and that’s where I was on his shoulders.” I actually was flashing back, and that got our wheels spinning: this is an obvious match. There were some conversations afterwards and they asked if I would be interested in teaching, and I said I would actually love that. Next thing I knew, I was teaching a theater course. 

13. THE "ORIGINAL" ANNIE MOVIE WAS NOT THE FIRST BIG-SCREEN INCARNATION OF THE LITTLE ORPHAN.

As even the most casual fan of A Christmas Story knows, Annie was a radio program before it was a movie (and she wanted you to drink your Ovaltine). But that wasn’t even close to the beginning of America’s relationship with the sassy Little Orphan Annie. The original Annie as we know her appeared in a comic strip started in 1924 by Harold Gray. It was going to be “Little Orphan Otto,” but a friend convinced Gray to change it based on James Whitcomb Riley’s even older 1885 poem “Little Orphant Annie,” which in turn was based on a real orphan child living with the Riley family, Mary Alice Smith.

The comic strip ran for decades and limped along for about 40 more years after Gray’s death. Annie of the comics was Nancy Drew crossed with Dick Tracy; she spent a lot of her time fighting Nazis and uncovering communist plots. And those round, empty eye sockets? Those were on purpose, according to Gray. “The blank eyeballs served to enhance reader involvement with the strip: not seeing what is going on in the eyes of the characters, readers could impose their own fears and concerns into the narrative.”

In the 1930s, two Annie adventure movies were made. The Broadway play released in 1977 was the most successful incarnation of Annie since her days of being shot at by gangsters. It was followed by the 1982 movie, a made-for-television remake in 1999, and a 2014 reboot.

14. 10-YEAR-OLD AILEEN QUINN WON BOTH A RAZZIE AND A BEST YOUNG ARTIST FILM AWARD FOR HER PERFORMANCE.

It is indicative of how puzzled people were with Annie that they couldn’t decide if its tiny star was a prodigy or a freckle-faced misery. She was awarded the Razzie for Worst Actress in a lead role, but took home a Best Young Artist Award, too. She also received a Golden Globe nomination.

15. TIM CURRY SIGNED ON FOR THE PART OF ROOSTER BECAUSE MUSICALS WERE SOME OF THE ONLY MOVIES HE WAS ALLOWED TO WATCH GROWING UP.

Tim Curry was the son of a Royal Navy Chaplain and a school secretary. He described his childhood as “strict,” and that fact might have had an effect on his career choices. During this unedited interview, a very bored, jet-lagged looking young Curry describes his desire to be in Annie“Long time ambition really, to do a Hollywood musical. [They] were one of the movies I was allowed to see. I had a very strict childhood, but Hollywood musicals were all right.” But wait, if you want to see a tiny flash of the man who brought Pennywise, Frank-n-Furter, and Darkness to life, skip to 3:30, where he describes his character, Rooster.

20 Things to Look for While Watching John Carpenter’s Halloween

Compass International Pictures
Compass International Pictures

Horror movies don’t come simpler or more effective than Halloween, director John Carpenter’s 1978 classic that helped revitalize the slasher genre and, of course, created one of the most popular costumes of all time. Halloween sends chills down your spine with nothing more than a few piano notes and long shots of the masked Michael Myers looming in the background, stalking his victims. (Today’s masters of horror could learn a thing or two from its less-is-more potency). To paraphrase Donald Pleasence’s Dr. Sam Loomis talking about Myers, this is a story about a man made up of pure evil.

After countless sequels and franchise reboots, including David Gordon Green's new Halloween sequel starring Jamie Lee Curtis (which, strangely enough, was co-written by comedian Danny McBride), it can sometimes feel like there’s no fresh ground in Myers. But it’s worth revisiting the movie that started it all to see how many deeper nuances were hiding just below the surface of Carpenter’s sublime terror. We rounded up the strange facts, goofs, and hints to catch next time Halloween inevitably pops up on a TV screen near you.

1. THE HALLOWEEN THEME SONG IS ITS OWN CHARACTER.


The opening credits set the mood with an image of a jack-o’-lantern and the movie’s theme song, which instantly communicate that Michael Myers is on his way and you should not underestimate him. The thing about that theme song: John Carpenter, who scored the movie himself as he did with many of his movies, clearly understood its power. It plays six different times throughout the film, along with variations on it (enough to make its own drinking game).

2. HALLOWEEN HAPPENED THANKS TO ONE RICH MAN IN THE CREDITS.


After seeing Carpenter’s Assault on Precinct 13, Syrian American financier Moustapha Al Akkad put up the $300,000 budget for the director to make a movie about a psychopath who stalks babysitters. Today, the Akkad family is still involved with production of movies in the franchise.

3. JAMIE LEE CURTIS WAS A NOBODY WHEN HALLOWEEN CAME OUT.


It seems hard to fathom now, but Halloween was Jamie Lee Curtis’s feature film debut. Curtis, of course, is the daughter of Janet Leigh, who had one of the most memorable roles in a scary movie ever with Alfred Hitchcock’s Psycho. If you look closely, Myers’s knife of choice even resembles the one from Psycho.

4. THE TOWNS IN HALLOWEEN DON’T EXIST, THOUGH THEY’RE (SORT OF) BASED ON REAL PLACES.


Halloween is mostly set in Haddonfield, Illinois, the sleepy Midwestern town where young Michael Myers begins his murderous mayhem. He later escapes from a hospital in Smith’s Grove, Illinois. Both places are fictional, but Smiths Grove, Kentucky, is close to where John Carpenter grew up in Bowling Green, Kentucky. Haddonfield is a reference to co-writer and producer Debra Hill’s hometown of Haddonfield, New Jersey. And the shooting location for the haunted Myers home was actually Pasadena, California.

5. MICHAEL MYERS HAD AN EARLY OBSESSION WITH MASKS.


We watch a six-year-old Myers put on a clown mask that’s been discarded on the floor in the earliest Halloween scene, before he tragically kills his own sister Judith. The masks help make Myers seem human-like, yet somehow beyond human thought and reason. “The idea was to make him almost humorless, faceless,” Hill said.

6. MYERS CLEARLY HAS A TORTURED RELATIONSHIP WITH SEX.


All of the murders we see happen in the original Halloween are tied to sexual activity: Myers stabs his sister to death after she’s been fooling around with a boy. Later Annie, Lynda, and Bob all suffer similar fates after they’ve disrobed or slept together.

7. LAURIE, HOWEVER, SEEMS DOWNRIGHT CONSERVATIVE FOR 1978.


According to common horror movie logic (which Halloween helped usher in), the more of a prude you are, the more likely you are to make it through the night. So it is here: Curtis’s Laurie, especially for her age in the late 1970s, stays covered up and doesn’t kiss a single person. She also expresses embarrassment when confronted about her feelings for a classmate.

8. DR. LOOMIS ISN’T VERY GOOD AT PARKING.


Loomis pursues Myers after the killer has escaped a hospital, using his deep knowledge of the patient to track him down. But Loomis does something un-doctorly in the process: He parks in a handicapped spot, despite not having any noticeable handicap.

9. LAURIE GETS A SCHOOLING IN FATE THAT’S AN IMPORTANT CLUE.


While she’s in a high school class and Myers is lurking outside, Laurie answers a teacher’s question about destiny. It might seem like filler dialogue, but it speaks to how Myers is constantly driven back—including in later movies—into the lives of the people in Haddonfield. She says, “Costaine wrote that fate was somehow related only to religion, where Samuels felt that fate was like a natural element, like earth, air, fire, and water."

10. A MATCHBOOK HOLDS CLUES TO MYERS’S PAST (AND FUTURE).


You can see Loomis looking at a matchbook in a car with his colleague Marion Chambers early in the movie. It says: The Rabbit in Red Lounge. Loomis later finds the same matchbook after Myers steals the car, which helps lead him to the killer. The Rabbit in Red Lounge nightclub makes an appearance in Rob Zombie’s 2007 reboot of Halloween, as the place where Myers’s mother works as a dancer.

11. THERE ARE TWO BRIEF GLIMPSES OF MYERS UNDERNEATH THE MASK IN HALLOWEEN.


We barely see Myers in profile as he jumps on top of a car outside the hospital where he’s being held early in the movie, but you get a much better look at his face when Laurie pulls off his mask near the end. That is the face of actor Tony Moran, who didn’t go on to do any of the sequels, though he still became a cult icon. The masked Myers is played by Nick Castle, who’s credited simply as “The Shape."

12. LAURIE SINGS A REALLY CREEPY SONG THAT MIGHT BE ABOUT HER AND MYERS.


While Laurie walks around town and Myers pursues her, she sings a couple lyrics that sound sweet but are haunting in context: “Wish I had you all alone / Just the two of us.” Internet digging reveals that it’s not a pop song, but rather it could be a reference to her repressed romantic feelings, or a nod to what will become her ongoing connection to Myers.

13. THE KID LAURIE BABYSITS LOOKS WEIRDLY LIKE YOUNG MYERS.


Myers as a six-year-old is played by Will Sandin, with blond longer hair. The actor playing Tommy, the boy Laurie is babysitting, bears a striking resemblance to Sandin.


It could be a coincidence, but somehow we think not.

14. MYERS’S GHOULISH MASK IS ACTUALLY JUST WILLIAM SHATNER.


As Halloween didn’t have a lot of money to go around, its art director Tommy Lee Wallace bought a cheap mask at a costume store, which happened to be of William Shatner’s Captain Kirk from Star Trek. Apparently the mask didn’t look much like Shatner, anyway, which worked for the best: The filmmakers painted it and adjusted the eyeholes to provide the unsettling visage for their maniac.

15. THE MYERS HOME MAGICALLY TRANSFORMS OVER TIME.


In the opening sequence of Halloween, we see Myers walk through his family’s home on his way to killing his sister, and there’s floral wallpaper.


In a later shot, we see Loomis and Sheriff Brackett walk through the very same area of the house, and it has a different floral wallpaper. But Brackett says no one has lived in the house since the incident in 1963. So did Myers redecorate on his trip back into town?

16. JOHN CARPENTER PREVIEWED ONE OF HIS NEXT MOVIES IN HALLOWEEN.


Halloween has two movie-within-a-movie moments: The teens and the kids they’re babysitting are seen watching The Thing from Another World (1951) and Forbidden Planet (1956), both of which undoubtedly influenced Carpenter. In fact, Carpenter went on to make The Thing (1982), an adaptation of Who Goes There, the same novella on which The Thing from Another World is based.

17. A NEIGHBOR DOESN’T HELP LAURIE WHEN SHE’S IN TROUBLE.


One of the more unnerving moments in Halloween is so brief that you could easily miss it: As Laurie is being chased by Myers later in the movie, she runs to a neighboring house and screams for help. You can see an outside light turn on and an arm of someone inside looking through a window. But the person quickly walks away, leaving Laurie in harm’s way.

18. MYERS IS HARD TO KILL—EVEN BY HORROR MOVIE STANDARDS.


It became a running joke in the Halloween franchise that Myers is impossible to kill. In fact, he seems to resurrect himself on the spot, a trope that was reused in many later slasher films. In the first movie, we watch Laurie stab him once, then again in a closet with his own knife. Then Loomis shoots him multiple times, leading him to fall off the second floor of a house. But when Loomis goes to check on the body, Myers is already gone. As little Tommy puts it best, “You can’t kill the bogeyman."

19. MYERS’S AGE DOESN’T QUITE ADD UP.


Myers is supposed to be age six when Halloween begins in 1963. In 1978, then, he should about 21 years old. Yet in the end credits, the older Myers is said to be 23, which is impossible. Except, of course, in a movie.

20. CARPENTER GAVE HIMSELF A CODE NAME.


In the end credits, the music is listed as being performed by The Bowling Green Philharmonic Orchestra. Well, there is no such orchestra. Carpenter is from Bowling Green, Kentucky, and decided to gussy up his music credit. (To be fair, he did get help on the songs from a few friends.)

All screenshots via Anchor Bay Entertainment.

12 Surprising Facts About Bela Lugosi

Mabel Livingstone/Hulton Archive/Getty Images
Mabel Livingstone/Hulton Archive/Getty Images

On October 20, 1882—136 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

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